FOLIO opens up
a new way of seeing
Australia, a secret
history drawn by our
unique creators.
FOLIO opens up
a new way of seeing
Australia, a secret
history drawn by our
unique creators.
The official name of our 2020 Australia Research Council-funded Linkage Project is ‘Contemporary Australian Comics 1980-2020: A New History’. In collaboration with our amazing Partner Organisations the National Library of Australia, Australia Council for the Arts, and Craig Walker Design, we will map, archive and promote Australian comics and graphic novels produced in the last 40 years, and the artists who created them.
Since its inception in 2018, the team of investigators on this project has been calling it, simply, ‘Folio’. The word Folio, for us, stirs up a powerful series of images and impressions which lie at the heart of what we want this project to do. Imagine a comic artist carrying a folio of their work – their shiny completed projects, their drafts, their messy mistakes, their notes to themselves, their attempts and failures, a record of their relentless, exhausting labour, a testament to their love of this art-form. They spread their folio out on a table – a hidden history is revealed.
Illustration by Claudia Chinyere Akole
Australia’s best comics creators make stunning work, but many are undiscovered by the general reading public. Folio aims to present Australia’s contemporary comics scene in the most accessible way, making these often rare and ephemeral works available for generations of readers and scholars.
As an introduction to the medium, we will organise art, information and the stories of Australian comics with a focus on accessibility, simplicity and clarity, using interactive media that makes it easy for newcomers to navigate and explore.
Our project will unearth the portfolios of our world-class artists, archive their back-catalogues, and articulate the work with essays, interviews and multimedia readings.
During the project we will spend time unpacking, reading and responding to Australian comics in the National Library of Australia. We’ll also acquire new and historical Australian comics for the NLA’s collection.
We will interview and photograph some of Australia’s comic artists, asking them to tell us the story of their intersections with the Australian comics scene and what it means for them.
With Craig Walker Design, we will create a beautiful website where anyone in the world will be able to discover, explore and study the complex interwoven network of Australian comic artists, publishers, community organisers and booksellers.
At the end of the project, we’ll be holding a series of launch events, panel discussions and exhibitions with the Australia Council where you’ll be able to come and hear from local artists, look at their original work up close, and talk to us about Folio.
Folio opens up a new way of seeing Australia, a secret history drawn by our unique creators.
SHOWCASING AUSTRALIAN ARTISTS
We unearth the portfolios of our world-class artists, archive their back- catalogues, and articulate the work with essays, interviews and multimedia readings.
DIVERSE
STORIES
You’ll see migrant stories, surfies, queer kids, detention stories, all-seeing city women, suburban horror, Indigenous superheroes, and more.
LIVING ARCHIVE
We present today’s Australian comics scene in the most accessible way, making these often rare and ephemeral works available for generations of readers and scholars.
LINKED COMMUNITIES
We reveal the community that exists around every book and artist - a network of passionate hardworking enthusiasts, a silent army that encapsulates the DIY spirit of a creative Australia.
Coming from fine art, and then engrossed in my architecture training, I didn’t meet any other comics people for a long time. We are pretty rare creatures - not many people read comics, and fewer want to make them. I didn’t realise I was lonely until I met others who spoke the same language.
There is one belief that I have retained for longer than any other in my life. My belief is that ideas are tied to their speaker.
Ideas are spoken in the voice of their author. Scholarship is bound to the body of its writer. To suggest that ideas can float free of the bodies that voiced them has always sat uncomfortably with me. There are many ways that we are taught from a young age how to distance the body and voice of the scholar from the words they are speaking. The surgical excision of the ‘I’ when writing essays in high school takes a long time to heal. In fact, come to think of it, the use of ‘I’ in my writing was excised around the same time that comics were excised from my reading. It took fifteen years for me to find them both again.
When I was 18 I found a comic book that rocked my tiny world.
As a young girl growing up in Perth, I loved reading Archie comics and would buy them from my local stationary store as often as I could. The bright colours and clean lines of the artwork, along with the improbably vast number of outfits worn by Betty and Veronica, along with the episodic impulse of the comic delighted me. I was able to lose myself in this pop world which maintained a light touch on the trials and tribulations of ‘growing up’.
It’s probably ruining my posture... but I love this process. There’s a tactile joy in scratching lead and ink onto paper which I’ve come to crave. I like to believe drawing is a metonym for thinking.
The concept of ‘Australian manga’ is one that few people are aware of, even if they are reasonably well-informed about the large, global subculture behind it. For many who live acclimatised to the hegemonic, Western (read: American) cultural landscape that dominates this country, it’s inevitable that they are slow to embrace Australian manga’s inclusion in the history of Australian comics.